Suchergebnisse

The aim of the article is to explore of genre and dramaturgic features of a modern historical film.
The research methodology is based on the systematic use of materials from the scientific branches of art and cultural science, cinema theory and history, psychology, etc. The empirical basis of the study included a series of historical films of the XXI century, a detailed analysis of genre and dramaturgic features was carried out.
The results. Historical drama is the leading genre of a film based on real events, which grinds the past, turning it into a mirror image of the present. Thus, the theme of the film, its newsworthiness has the equal importance along with the genre, which ensures the integrity of the material, director's and cameraman's methods and techniques and the style, which forms the aesthetic expressiveness of the film.
Films based on real events, which premiered in the XXI century, were chosen as the empirical basis of the study. As the core of the plot were chosen issues of human rights violations, social discrimination and injustice. These problems have their origins in ancient times and have long been the main obstacles for the establishment of democratic values in society.
We found that modern historical drama has significant morphological differences from the XX century drama: lack of epicism, abandonment of the tragic component in favor of a happy ending, the transition from melodramatics to hybridization of drama with more dynamic genres: action, road movie, western. At the same time, we see that modern historical drama has signs of genre elasticity and syncretism, which allows forming new multi­genre constructions that have not yet entered scientific circulation in the domestic press (action drama, crime drama, western drama, kidnap drama, etc.).
The dramatic features of modern historical films are closely related to the genre construction of the films. The genre of autobiography determines the priority of using the "plot of growing up" and "plot of the experience", when the main characters grow up psychologically and fight for their rights: life, freedom, personal inviolability. The hero — is dominated archetype, a person who serves others, sacrifices himself or puts himself in constant danger for the sake of others.
The issue of social inequality in the historical context, when realities separate the viewer from the depicted events for a significant period of time, is reflected in the historical film more often and has a proper response from the viewer. At the same time, the modern issue of human rights, which demonstrates the principle of "democracy for the elect" is not so popular among modern fans of historical cinema.
Novelty. The scientific novelty of the article is to identify the modern morphology of historical film, the actualization of the relationship between the genre, the magnitude of the theme of historical film, its dramatic solution and the value expectations of the audience.
The practical significance. The main theses and results of the research may be useful for practicing screenwriters of historical films. The recommendations in this article contribute to the creation of a commercially successful and psychologically powerful film product. In addition, the article can be used for academic disciplines in film schools in Ukraine and abroad.

Considered a notorious subset of horror in the 1970s and 1980s, there has been a massive revitalization and diversification of rape-revenge in recent years. This book analyzes the politics, ethics, and affects at play in the filmic construction of rape and its responses.

This article explores how genre matters for the history of cinema audiences in south India. I focus on the development of silent film genre categories in south India during the 1920s as they were used according to the local conditions to help imagine, define and cultivate cinema audiences. I argue that from the late- 1910s, film genre classifications helped exhibitors and film critics to conceive of, calculate and socially differentiate the steadily growing audiences for cinema. Using material from archival sources and newspapers—advertisements, reviews and film criticism—this article documents how the emergence of film genre categories and their subsequent refinement through the 1920s addressed and articulated a stereotyped sociology of local film audiences in Madras. At the beginning of the 1920s there were three main classifications of films recognised in the local cinema market of Madras—serials, short dramas and Indian films. For almost a decade these three categories broadly covered the range of films available in Madras. Local exhibitors and film critics saw each type of film as part of a changing system of complementary and contrasting entertainment alternatives corresponding to definitive kinds of local audiences. As there are few sources and little scholarship which can help deal with early film audiences, the history of film genres offers unique insight into how those in Madras imagined the always indeterminant social reality of film audiences

Introduction -- Chapter 1: Bodies Under Scrutiny -- Chapter 2: Trans Identity as a Cis Problem or the "Cis Surprise -- Chapter 3: Comedic Romance: Trans Props and Pathetic Cis Partners -- Chapter 4: Dramatic Romance and the Value(s) of Tragedy -- Chapter 5: Trans Criminality: From Dangerous Sociopaths to Sassy Hookers -- Chapter 6: Trans Victims: Dead or Alive -- Appendix A: Glossary for Gender Identities and Characters -- Appendix B: Timeline of Trans Characters in Scripted American Film and Television, 1965-2018.

Studies of transnational media flow and reception discuss audiences as cultural-linguistic groups that make idiosyncratic content choices, but say little to distinguish or explain their collective tastes. The literature on (inter)cultural consumption suggests that cultural preferences are more similar among societies that share a cultural or linguistic affinity than those that do not. Examining national acceptance of, and taste in, Hollywood films within a global sample of countries, this study quantifies the dissimilarities in genre preferences between the United States and importing countries based on 2002-2007 box-office sales. The analysis shows that genre taste dissimilarities are related positively to cultural distance between countries, and negatively to the English proficiency of the importing country. Furthermore, the economic attributes of the importer have no effect on taste dissimilarity. The analysis also shows that the genre tastes of individual countries have converged toward those of American audiences during these years.

AbstractThe article describes how basic cognitive and emotional systems of the embodied brain are products of a long evolutionary history and how this determines the way in which the major film genres are constructed. It synthesizes research from evolutionary psychology and cognitive film studies, as well as moral psychology. It explains how the film experience is embodied: experienced not only cognitively but with the whole body and its interaction with the world. Also discussed is how the biological underpinning of genres are based on three major types of emotions: a group of reptilian emotions central to action and adventure; a group ofmammalianemotions related to offspring of care; and separation panic/grief. A special human development to enhance group living has expanded emotions of care to also underpin emotions linked to group living such as loyalty to tribe, aggression towards out-groups and submission to tribal hierarchy, central in war, sci-fi and fantasy films, and also emotions related to social rituals such as comedy, tragedy and musical. A discussion is also offered of how the historical development from hunter-gatherers via societies based on agriculture to the present post-agrarian society has moulded moral emotions; this is exemplified in relation to crime films. Finally, also considered is how age and gender influence genre preferences.

Abstract
This article explores contemporary film genre preferences through an in-depth sociological analysis of taste cultures in film preferences amongst youth aged 16–18 in Flanders (the northern Dutch-speaking part of Belgium). Building on a representative sample of 1015 respondents we statistically analyze the assumption that contemporary media audiences demonstrate mobility and that they are eager to shape their media consumption in accordance with their personal preferences. This article examines whether societal structures that have been found to reflect media preferences remain in place, or whether these structures have eroded with the (supposed) increase in individual choice – an argument often voiced in the context of convergence culture. An analysis of the variables gender, educational level and ethnicity illustrates that societal structures are still reflected through film genre preferences amongst Flemish youth.

The aim of the article is to explore of genre and dramaturgic features of a modern historical film. The research methodology is based on the systematic use of materials from the scientific branches of art and cultural science, cinema theory and history, psychology, etc. The empirical basis of the study included a series of historical films of the XXI century, a detailed analysis of genre and dramaturgic features was carried out. The results. Historical drama is the leading genre of a film based on real events, which grinds the past, turning it into a mirror image of the present. Thus, the theme of the film, its newsworthiness has the equal importance along with the genre, which ensures the integrity of the material, director's and cameraman's methods and techniques and the style, which forms the aesthetic expressiveness of the film. Films based on real events, which premiered in the XXI century, were chosen as the empirical basis of the study. As the core of the plot were chosen issues of human rights violations, social discrimination and injustice. These problems have their origins in ancient times and have long been the main obstacles for the establishment of democratic values in society. We found that modern historical drama has significant morphological differences from the XX century drama: lack of epicism, abandonment of the tragic component in favor of a happy ending, the transition from melodramatics to hybridization of drama with more dynamic genres: action, road movie, western. At the same time, we see that modern historical drama has signs of genre elasticity and syncretism, which allows forming new multi­genre constructions that have not yet entered scientific circulation in the domestic press (action drama, crime drama, western drama, kidnap drama, etc.). The dramatic features of modern historical films are closely related to the genre construction of the films. The genre of autobiography determines the priority of using the "plot of growing up" and "plot of the experience", when the main characters grow up psychologically and fight for their rights: life, freedom, personal inviolability. The hero— is dominated archetype, a person who serves others, sacrifices himself or puts himself in constant danger for the sake of others. The issue of social inequality in the historical context, when realities separate the viewer from the depicted events for a significant period of time, is reflected in the historical film more often and has a proper response from the viewer. At the same time, the modern issue of human rights, which demonstrates the principle of "democracy for the elect" is not so popular among modern fans of historical cinema. Novelty. The scientific novelty of the article is to identify the modern morphology of historical film, the actualization of the relationship between the genre, the magnitude of the theme of historical film, its dramatic solution and the value expectations of the audience. The practical significance. The main theses and results of the research may be useful for practicing screenwriters of historical films. The recommendations in this article contribute to the creation of a commercially successful and psychologically powerful film product. In addition, the article can be used for academic disciplines in film schools in Ukraine and abroad. ; Досліджено сутність жанру історичного фільму, проаналізовано сучасні кінотвори з точки зору над­жанрових побудов сучасного ігрового кіно. Показано проблематику формування загальної концепції історичного фільму, вибору жанрової конструкції, підготовки сценарію з урахуванням ціннісних установок та побажань аудиторії. Окрема увага приділена еволюції теорії жанру, що мала як етапи утвердження беззаперечного авторитету жанру як запоруки цілісності твору, так і періоди повної відмови від жанру на користь вільної авторської інтерпретації та відтворення дійсності. Порушено питання достовірності зображуваних подій як в історичних фільмах, так і у фільмах, що не позиціюються як історичні. Виявлено жанрову та драматургічну трансформацію сучасного історичного фільму, що полягає в утворенні нових жанрових структур та зміні загальної драматургічної структури твору.

The aim of the article is to explore of genre and dramaturgic features of a modern historical film. The research methodology is based on the systematic use of materials from the scientific branches of art and cultural science, cinema theory and history, psychology, etc. The empirical basis of the study included a series of historical films of the XXI century, a detailed analysis of genre and dramaturgic features was carried out. The results. Historical drama is the leading genre of a film based on real events, which grinds the past, turning it into a mirror image of the present. Thus, the theme of the film, its newsworthiness has the equal importance along with the genre, which ensures the integrity of the material, director's and cameraman's methods and techniques and the style, which forms the aesthetic expressiveness of the film. Films based on real events, which premiered in the XXI century, were chosen as the empirical basis of the study. As the core of the plot were chosen issues of human rights violations, social discrimination and injustice. These problems have their origins in ancient times and have long been the main obstacles for the establishment of democratic values in society. We found that modern historical drama has significant morphological differences from the XX century drama: lack of epicism, abandonment of the tragic component in favor of a happy ending, the transition from melodramatics to hybridization of drama with more dynamic genres: action, road movie, western. At the same time, we see that modern historical drama has signs of genre elasticity and syncretism, which allows forming new multi­genre constructions that have not yet entered scientific circulation in the domestic press (action drama, crime drama, western drama, kidnap drama, etc.). The dramatic features of modern historical films are closely related to the genre construction of the films. The genre of autobiography determines the priority of using the "plot of growing up" and "plot of the experience", when the main characters grow up psychologically and fight for their rights: life, freedom, personal inviolability. The hero— is dominated archetype, a person who serves others, sacrifices himself or puts himself in constant danger for the sake of others. The issue of social inequality in the historical context, when realities separate the viewer from the depicted events for a significant period of time, is reflected in the historical film more often and has a proper response from the viewer. At the same time, the modern issue of human rights, which demonstrates the principle of "democracy for the elect" is not so popular among modern fans of historical cinema. Novelty. The scientific novelty of the article is to identify the modern morphology of historical film, the actualization of the relationship between the genre, the magnitude of the theme of historical film, its dramatic solution and the value expectations of the audience. The practical significance. The main theses and results of the research may be useful for practicing screenwriters of historical films. The recommendations in this article contribute to the creation of a commercially successful and psychologically powerful film product. In addition, the article can be used for academic disciplines in film schools in Ukraine and abroad. ; Досліджено сутність жанру історичного фільму, проаналізовано сучасні кінотвори з точки зору над­жанрових побудов сучасного ігрового кіно. Показано проблематику формування загальної концепції історичного фільму, вибору жанрової конструкції, підготовки сценарію з урахуванням ціннісних установок та побажань аудиторії. Окрема увага приділена еволюції теорії жанру, що мала як етапи утвердження беззаперечного авторитету жанру як запоруки цілісності твору, так і періоди повної відмови від жанру на користь вільної авторської інтерпретації та відтворення дійсності. Порушено питання достовірності зображуваних подій як в історичних фільмах, так і у фільмах, що не позиціюються як історичні. Виявлено жанрову та драматургічну трансформацію сучасного історичного фільму, що полягає в утворенні нових жанрових структур та зміні загальної драматургічної структури твору.